Category: Workshops

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Spring Short Session Metals

Metals – Spring Short Session
April 28 – May 3, 2024 (4 studio days)
Eliana Arenas
Pop, Pop, Pop!

Students in this workshop will experiment with nontraditional coloring techniques and create a wearable jewelry piece. We’ll embrace low-cost color treatments such as powder coating, flocking, spray paint, colored pencils, and alternative materials to create rich, engaging jewelry—no need for expensive equipment. Demonstrations will include sawing, filing, cold connections, soldering, and tab settings. All levels. Lower metals studio. 

Studio Artist: teaching: Arrowmont (TN), Winthrop University (SC), New Mexico State University, University of Texas at El Paso, Universidad Autónoma de Ciudad Juárez (Mexico): published in the Compendium Finale of Contemporary Jewellers, 500 Pendants and Lockets, 500 Earrings, 500 Necklaces, 1000 Rings, and 500 Paper Objects; representation: Ombré Gallery (OH), Baltimore Jewelry Center (MD).

eliarenas.com | @eliarenasjewelry

Eliana Arenas, Composition #2, oxidized sterling silver, brass, tin can, spray paint, rubber cord, silk thread, powder coating, 4 x 3 x 1/4 inches
Eliana Arenas, Composition #2, oxidized sterling silver, brass, tin can, spray paint, rubber cord, silk thread, powder coating, 4 x 3 x 1/4 inches
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Spring Short Session Iron

Iron – Spring Short Session
April 28-May 3, 2024 (4 Studio Days)
Addison de Lisle
Leaf it to Me: Botanical Candlesticks

Candlesticks are a great way to explore the sculptural potential of ironwork while keeping a toe in the functional world. This workshop will walk students through the process of forging botanical-style candlesticks that take advantage of the organic qualities of forged iron. Along the way we’ll get comfortable with using forge-welding to make visually exciting pieces from simple parts. Other blacksmithing techniques will include drawing down, bending, upsetting, hot cutting, and drifting. This workshop will be of use to beginners looking to develop their technique as well as experienced students interested in pushing their design skills. All levels. 

Studio artist; former professor of blacksmithing at American College of Building Arts (SC); workshop teaching: Haystack (ME), Appalachian Center for Craft (TN), Center for Metal Arts (PA), University of Southern Illinois-Carbondale; exhibitions; Metal Museum (TN), Institute for Contemporary Art (ME), Wayne Art Center (PA).

addisondelisle.com | @de_lisle_iron

Scholarship application deadline is August 15.
Regular enrollment begins October 2.

Addison de Lisle, Botanical Candlesticks II, mild steel, 15 x 5 x 5 inches
Addison de Lisle, Botanical Candlesticks II, mild steel, 15 x 5 x 5 inches
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Spring Short Session Glass

Glass – Spring Short Session
April 28 – May 3, 2024 (4 studio days)
Wesley Fleming
Bugs, Figures, Plants, and Beyond

Using soft glass, you will learn through demonstration, discussion, and practice to sculpt at the torch using the “Italian Technique.” We’ll show you how to create bugs, flowers, bodies, and fantastical objects without continuously reheating finished parts of the object, working from one side of your creation to the other as it cools. You will learn how to prepare components and assemble them cold in the flame without cracking. We’ll cover heat control, shaping, fine details, and proper annealing as we work through the meditative process that is flameworking. All levels. Flameworking studio.

Wesley: Studio artist; teaching: The Studio at Corning (NY), Kobe Lampwork Museum (Japan), Penland, Snow Farm (MA); collections: Corning Museum (NY), Racine Art Museum (WI), Tacoma Museum of Glass (WA); publications: American Art Collector, Make, numerous glass magazines, several Schiffer books.
wesleyfleming.com | @vetropod

Wesley Fleming, Yellow Star Grass, hot sculpted glass, adhesive, 1 x 3 x 7 inches
Wesley Fleming, Yellow Star Grass, hot sculpted glass, adhesive, 1 x 3 x 7 inches
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Spring Short Session Drawing and Painting

Drawing & Painting–Spring Short Session
April 28 – May 3, 2024 (4 studio days)
Nick Raynolds
Observation and Invention: The Portrait

Drawing the model from life will be our inspiration for exploring solutions aimed at synthesizing observation and imagination in the portrait. Using graphite, charcoal, or ink pen/ink wash, students will leave the workshop with a number of portrait drawings ranging from the “realistic” to the idealized and fantastical. We’ll have demonstrations, lots of drawing time, and various individual and collaborative exercises aimed at challenging your understanding of the human face. All levels.

Studio artist; teaching: University of North Carolina-Asheville, Warren Wilson College (NC), Art Students League (NYC), National Academy of Design (NYC); exhibitions: Brassworks Gallery (OR), Reese Museum (TN), Blue Spiral 1 (NC), Manifest Gallery (OH), John Pence Gallery (San Francisco), Eleanor Ettinger (NYC).

@n.raynolds | @raynonmars

Scholarship application deadline is August 15.
Regular enrollment begins October 2.

Nick Raynolds, Portrait of John, pencil on paper, 8 x 5 inches
Nick Raynolds, Portrait of John, pencil on paper, 8 x 5 inches
Nick Raynolds, Animal Boy, pencil on paper, 6 x 5 inches
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Spring Short Session Clay

Clay–Spring Short Session
April 28 – May 3, 2024 (4-studio days)
Liz Zlot Summerfield
Developing Depth with Handbuilt Slab Pots

This workshop will demystify working with soft slabs and offer the essential components for creating unique slab-built pots. Students will begin with simple functional forms and expand to include components such as lids, feet, and spouts. Surface techniques will include stamping, slip trailing, and stenciling in conjunction with terra sigillata, underglaze, and glaze. Students can expect to leave with many new skills, several unfired pots, and a set of finished tiles fired at low-fire and mid-fire temperatures. This workshop will provide one-on-one interaction in a supportive, positive environment where experimentation is encouraged and individual development is nurtured. All levels. Lower clay studio.

Studio artist; teaching: Mars Hill University (NC), Penland, Arrowmont (TN), Idyllwild Art Center (CA), Double Island Studio (NC); representation: Clay AKAR (IA), Schaller Gallery (MI), Penland Gallery; collections: Mint Museum (NC), Ceramics Monthly; publications: Beginners Guide to Hand Building, Terra Sigillata: Contemporary Techniques, A Studio Handbook; DVD: Hand Built Forms with Soft Slabs.

lzspottery.com | @lizzlotsummerfield

Liz Zlot Summerfield, Floral Cream and Sugar Set, earthenware, terra sigillata, underglaze, glaze, wire, 6 x 3 x 4 inches
Liz Zlot Summerfield, Floral Cream and Sugar Set, earthenware, terra sigillata, underglaze, glaze, wire, 6 x 3 x 4 inches
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Spring Short Session Books

Books and Paper – May Special Session
May 1-6, 2022
Brian Chan
Origami: Theory and Craft

Starting with traditional origami models such as the crane, frog, and iris, we’ll follow the progression of this art form up to the latest creations and techniques pioneered by modern folders. I’ll present my own work as examples and delve into the design process as we spend time understanding the geometry of origami crease patterns, exploring folding techniques, and learning about the use of different papers for different styles. Students will have the opportunity to design and fold their own models. All levels. Books studio.

Studio artist working in origami, illustration, digital sculpting, and 3D printing; teaching: MIT Hobby Shop (MA); special guest at origami conventions in Japan, Korea, Italy, Spain, Peru, and Bolivia; exhibitions: Origami House (Japan), Peabody Essex Museum (MA); diagrams published by Japan Origami Academic Society.

brianchandesigns.com | @brianchandesigns

Brian Chan, Oak Leaf, handmade Origamido paper, 6 x 3 x 1/2 inches
Brian Chan, Oak Leaf, handmade Origamido paper, 6 x 3 x 1/2 inches
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Wood Spring Concentration

Wood Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Ellie Richards
Freeform Furniture

Using furniture and functionality as our muse, this workshop will use traditional techniques to create compelling and imaginative objects that communicate ideas and feelings beyond their utility. We’ll cover traditional methods of processing, joining, bending, and carving wood to make sculptural furniture forms. A variety of surface explorations and wood finishes will be presented, and the use of alternative materials (leather, cork, felt) along with high-quality hardware will be encouraged. Through a cycle of playing and building, students will strengthen their voice while working to question convention, break free of archetypes, and explore the abstract. By the end of the session, Freeform Furniture will take on a shape all its own. All levels. 

Studio artist; teaching: Yestermorrow (VT), Appalachian Center for Craft (TN), Haystack (ME), Penland; residencies: Center for Art in Wood (ME), San Diego State University (CA), University of Wisconsin-Madison, former Penland Resident Artist; exhibitions: Mint Museum (NC), Center for Craft (NC), SOFA Chicago, Society of Contemporary Craft (Pittsburgh).

ellie-richards.com | @ellieinthewoods

Ellie Richards, New Heights, chainsaw sculpted, polychromed red oak, shellac, 48 x 44 x 24 inches
Ellie Richards, New Heights, chainsaw sculpted, polychromed red oak, shellac, 48 x 44 x 24 inches
Ellie Richards, Wishbone Bench V, sawmill offcut spalted maple, milk paint, 18 x 36 x 12 inches
Ellie Richards, Wishbone Bench V, sawmill offcut spalted maple, milk paint, 18 x 36 x 12 inches
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Textiles Spring Concentration

Textiles Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Andrea Donnelly
Weaving Alchemy

Delve deep into your personal artistic language through handwoven cloth and creating artwork with textile processes. After we cover basic weaving techniques we’ll be off to discover what magic we can make with the loom. We’ll experiment with nontraditional interventions such as unweaving and on-loom painting, explore the possibilities of immersion dyeing, and paint on thread and cloth. Off the loom, our woven cloth will become raw material as you learn to stabilize, layer, and assemble handwoven elements to create collage-style work. Come prepared to weave your booty off! All levels. Lower textiles studio. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift. 

Studio artist; teaching: Virginia Commonwealth University; exhibitions: Reynolds Gallery (VA), 1708 Gallery (VA), North Carolina Museum of Art, Mint Museum (NC), Museum Rijswijk (Netherlands); collections: North Carolina Museum of Art, Virginia Museum of Fine Art, Capital One (VA), Dominion Energy (VA); representation: Reynolds Gallery (VA).

andreadonnelly.com | @andreadonnellyart

Andrea Donnelly, Green Spaces, handwoven cotton, dye, pigment, PVA, cotton backing, 42-3/4 x 33-1/2 inches
Andrea Donnelly, Green Spaces, handwoven cotton, dye, pigment, PVA, cotton backing, 42-3/4 x 33-1/2 inches
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Print & Letterpress Spring Concentration

Printmaking Spring Concentration
March 3 – April 26, 2024
Jamaal Barber
Relief Printing

Dive into the beautiful world of relief printmaking! Learn to design, carve, and print expressive woodcuts and linocuts. Starting with single-color images, we’ll cover the basics of mark-making, tool safety, using the press, and editioning. Then we can build more complex images using multiple blocks, multiple colors, color gradients, laser cutting, and other advanced techniques. As we progress, we’ll discuss traditional and contemporary printmaking from Kathe Kollowitz and Picasso to Elizabeth Catlett and Steve Prince. Students can expect to finish two or three editioned prints, with the potential for many more print variations with experimentation and collaboration. All levels. Printmaking studio.

Studio artist, podcaster (Studio Noize); participant in The Exhibit on MTV and Smithsonian Channel; teaching: Atlanta Printmakers Studio, visiting lecturer at Georgia State University; exhibitions: Samford University (AL), Public Works (SC), Mint Gallery (GA), representation: ZuCot Gallery (GA). 

jbarberstudio.com | @jbarberstudio

Jamaal Barber, Something Wonderful, linocut, collage, 18 x 12 inches
Jamaal Barber, Something Wonderful, linocut, collage, 18 x 12 inches
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Photography Spring Concentration

Photo Spring Concentration
March 6 – April 29, 2022
Mercedes Jelinek
Processing Process

This workshop will take students on a journey through analog, digital, and hybrid photographic processes. We’ll cover large-format camera use, film development, and traditional darkroom printing. We’ll also scan film, shoot digitally, and use these files to make archival inkjet prints. From there, we’ll learn to further manipulate our photographs through collage and alternative photographic processes. This workshop will also cover basic and advanced shooting techniques, composition, framing, digital workflow, archiving, digital editing (with Lightroom or Photoshop), and more. All levels. 

Studio artist; teaching: East Carolina University Italy Intensives Program, Appalachian State University (NC), Penland; former Penland resident artist; exhibitions: Odgen Museum (New Orleans), SoHo Photo (NYC), Satellite Art Show at Art Basel Miami, Pingyao International Photo Festival (China); publications acquired by Museum of Modern Art (NYC), Guggenheim Museum (NYC), Metropolitan Museum (NYC), Whitney Museum (NYC), Library of Congress (DC), Aperture Foundation (NYC), Getty Institute (Los Angeles). 

 mercedesjelinek.com | @mercedes_jelinek

Mercedes Jelinek, Insomnia, archival pigment print, 22 x 17 inches
Mercedes Jelinek, Insomnia, archival pigment print, 22 x 17 inches
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Metals Spring Concentration

Metals Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Lola Brooks
All You Can Eat: The Blue Plate Special

This workshop will be a feast of technical and conceptual investigation in the metals studio. Students will have the opportunity to explore a wide variety of techniques while working toward a deeper understanding of their own interests in making small objects and jewelry. Focusing on fabrication, we’ll whet our appetites by investigating hollow and wire construction, repetitive elements as structure, forming, mechanisms, and stonesetting. We’ll continue the tasting menu with a week of wax carving and lost-wax casting with guest instructor Suzanne Pugh. Finally for dessert, we’ll sample the delights of color as we explore the basics of working with vitreous enamel. All levels. Upper metals studio. Note: this workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

This workshop takes place in a ground-level studio with compromised access. It is made partially accessible by a stair lift. 

Studio artist; teaching: University of Georgia, Cranbrook (MI), Rhode Island School of Design, University of the Arts (Philadelphia); collections: Rhode Island School of Design Museum, Yale University Art Gallery (CT), Museum of Arts and Design (NYC), Metropolitan Museum (NYC); representation Sienna Patti Contemporary (MA).

@dolorescanard

Lola Brooks, Narcissuses, stainless steel chain, 14k solder, mid-20th century shell cameos, coral, stainless steel, 14k gold, 2 x 2-1/4 x 1-1/4 inches
Lola Brooks, Narcissuses, stainless steel chain, 14k solder, mid-20th century shell cameos, coral, stainless steel, 14k gold, 2 x 2-1/4 x 1-1/4 inches
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Iron Spring Concentration

Iron Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Anna R. Koplik
Tongs, Hammers, and Other Slammers

This workshop will explore the self-sufficient nature of blacksmithing as students make a series of tools. Each tool will aid in the creation of the next and this series of projects will help develop basic forging skills. We’ll make hammers, tongs, top tools, power hammer tooling, bending forks and jigs, and more. The workshop structure will allow students to make tools to suit their interests, culminating in making functional or sculptural projects of their own design. Demonstrations will focus on refining forging technique, proper heat treatment, and finishing. We’ll work to understand how form and function go hand in hand. Expect lots of hand hammering, striking with sledgehammers, power hammer work, a welcoming and inclusive environment, and breaks for dance parties. All levels.

Artist fellow at Peters Valley (NJ), journeyman architectural blacksmith, tool and utensil maker; teaching: Penland, Touchstone (PA), Peters Valley (NJ), Haystack (ME), Center for Metal Arts (PA), Campbell Folk School (NC), Desert Metal Craft (AZ), Brookfield (CT), She-Weld (NY), Dragons Breath Forge (CT); recent exhibition: Penland Gallery.

annarkoplik.com | @arkoplik

 

Anna R. Koplik, Hammers and Tongs, forged steel, wood, dimensions variable
Anna R. Koplik, Hammers and Tongs, forged steel, wood, dimensions variable
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Glass Spring Concentration

Glass Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Granite Calimpong
Building a Strong Foundation

This workshop is about exploring functional forms as you build a strong foundation of fundamental glassblowing skills. Starting with simple drinking vessels, we’ll cover gathering, marvering, working on center, body position, and movement through the shop. From there we’ll move on to bowls, plates, vases, and other more challenging forms and work through more advanced techniques, including optic molds, color applications, bit work, and handles. This workshop will be about steady improvement that will enable you to produce functional objects for use and enjoyment. All levels. Hot glass studio.

Studio artist; teaching: University of Washington, Pilchuck (WA), Haystack (ME), Penland, Pittsburgh Glass Center; recent exhibitions: Traver Gallery (Seattle); The Jam Factory (Australia); residencies: Museum of Glass (WA), Pilchuck (WA), Northlands Creative Glass (Scotland), Pittsburgh Glass Center, Pottery Northwest (Seattle).

granitecalimpong.com

Granite Calimpong, Saltillo, glass, vitrolite, 12 x 10 inches
Granite Calimpong, Saltillo, glass, vitrolite, 12 x 10 inches
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Clay Spring Concentration

Clay Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Cynthia Bringle
Basics and Beyond

This workshop will be about starting from where you are and getting to the next stop along the way. Whatever your level of experience, it’s always good to review and learn more ways to make handles that function, lids that fit, and pitchers that pour. We’ll do lots of work on forms and options for decoration, including brushwork, glazes, and carving. We’ll work with stoneware, and together we’ll load and fire various kilns. Studio and gallery visits will give you a chance to see different approaches to pottery, studio set-up, and ways of selling. Guest instructor Julie Wiggins will add her perspective by leading the workshop for one week. The ability to center clay and pull a 6-inch cylinder will be helpful, but the workshop is open to all levels. Upper clay studio.

Studio potter and workshop teacher; teaching: Arrowmont (TN), Anderson Ranch (CO), Campbell Folk School (NC), Penland; fellow and trustee emeritus of the American Craft Council, North Carolina Award for Fine Arts, honorary doctorate from Memphis College of Art; collections: Mint Museum (NC), High Museum (GA), Gregg Museum (NC), Fuller Craft Museum (MA), Asheville Museum of Art (NC).

cynthiabringlepottery.com | @cynthiabringle

Cynthia Bringle, Fish Jar, stoneware, 20 x 12 x 12 inches
Cynthia Bringle, Fish Jar, stoneware, 20 x 12 x 12 inches
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Drawing & Painting Spring Concentration

Drawing & Painting Spring Concentration
March 11-May 4
Holly Roberts
The Perfect Union: Paint, Collage & Transfers

Students will begin the process of combining media by experimenting with different ways of applying paint. Painted surfaces will serve as the core of the images to follow and will guide students in forming these images. Students will experiment with transfer processes, gluing and adhesive techniques, and using their own source material to build images onto their painted surfaces. The workshop will stress investigation, exploration, and risk in an attempt to marry disparate media such as print, text, photographs, and any other material students want to use. All levels. Studio fee: $170. Code S00D

Studio artist; teaches nationally and internationally; two NEA fellowships; monographs of her work published by Nazraeli Press and Friends of Photography; collections: Art Institute of Chicago, Center for Creative Photography (AZ), San Francisco Museum of Modern Art, Museum of Fine Art Houston, Los Angeles Museum of Contemporary Art.

hollyrobertsstudio.com

There are still work-study scholarships available for this concentration. Please contact the Penland registrar with interest at 828-765-2359 or registrar@penland.org.

Holly Roberts, "Snake Handler," mixed media, 29 x 40 inches
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Books & Paper Spring Concentration

Books Spring Concentration
March 5 – April 28, 2023 (8 Weeks)
Alex McClay
Form, Content, Book

In this workshop we’ll create meaningful and moving works of art by making books that merge form and content. We’ll begin by covering a plethora of bookbinding techniques, including one-page books, zines, pamphlet stitch, coptic stitch, drum leaf binding, case binding, and box-making. At the same time, we’ll practice creative exercises that will evoke your artistic voice and encourage content development. Then we’ll spend some time in the letterpress studio getting that content onto paper. You’ll learn to set type, make polymer plates, pressure print, and collagraph print, all while planning carefully for the book form. We’ll put it all together back in the books studio. Demonstrations, presentations, discussions, meditations, and exercises will enrich the workshop experience. Students will leave with a collection of handbound artists’ books and a working knowledge of bookbinding and letterpress printing. All levels. 

Studio artist; teaching: University of Cincinnati (OH), University of Georgia (GA); residencies: Tiger Lily Press (OH), Penland Core Fellowship (NC); exhibitions: Weston Art Gallery (OH), ArtSpace (NC), Haggerty Gallery (TX), Robert C. Williams Museum of Papermaking (GA).

alexmcclay.com | @raaalex

Alex McClay, Up and to the Right, book cloth, kozo, tracing paper, waxed linen thread, 4 x 5 x 1/4 inches
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Fall Weekend Textiles

TEXTLES WEEKEND SESSION
October 21 – 23, 2022
Dail Dixon
For the Birds

Birds enjoy a well-designed, well-built place to live, and we can all do our part to help. The first day of this workshop will alternate between demonstrations and making. With a little grit, you will complete a bluebird house ready for occupancy. On the second day, you can build another just like it or try a different style. Even better, you could consider a creative approach that adopts the elemental components of the birdhouse—volume, entry hole, and perch—to present an idea, an allegory, or a portrait. We’ll cover shop safety and basic tool use, and you will leave with new skills and homes for your feathered neighbors. Beginning level. 

Architect, woodworker; fellow of the American Institute of Architects; teaching: North Carolina State University, Penland; exhibitions: North Carolina Museum of Art, St. Johns Museum (NC), Duke University Museum (NC), GreenHill Center (NC), Light Art + Design (NC), Penland Gallery; architect for multiple Penland School projects. 

daildixon.com | @daildixon

Dail Dixon, Birds of Penland Series: Drawing Studio, poplar, colored pencils, kneaded eraser, spray primer, enamel, 5-1/4 x 5-3/4 x 10-1/8 inches
Dail Dixon, Birds of Penland Series: Drawing Studio, poplar, colored pencils, kneaded eraser, spray primer, enamel, 5-1/4 x 5-3/4 x 10-1/8 inches
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Fall Weekend Photography

PHOTO FALL WEEKEND SESSION
October 20–22, 2023
Betsy DeWitt
Chemistry and Cloth

This workshop will meld the worlds of photography and textiles by using the cyanotype process to make prints on cloth. We’ll generate images using photograms (a cameraless process) and digital negatives, mix cyanotype chemistry, coat the fabric, then expose and develop our images. Once we have our blue beauties on fabric, we’ll cover simple sewing, embroidery, and fabric manipulation techniques to alter and embellish them. This workshop will give students a photo process and textile techniques they can practice in their own homes. All levels. Photography studio. 

Former photo/drawing and painting studio coordinator at Penland; exhibitions: Turchin Center for the Visual Arts (NC), Asheville Area Arts Council (NC), Vermont Center for Photography, Soho Photo Gallery (NYC), Rebus Works (NC), Leeds Gallery at Earlham College (IN), St. Andrews Art Gallery (TN).

Enrollment for this workshop will begin on May 1. 

Betsy DeWitt, Snack Bag, cyanotype on cotton, 13 x 13 inches
Betsy DeWitt, Snack Bag, cyanotype on cotton, 13 x 13 inches
Betsy DeWitt, Dazzle, cyanotype on cotton, 10 x 8 inches
Betsy DeWitt, Dazzle, cyanotype on cotton, 10 x 8 inches
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Fall Weekend Iron

IRON FALL WEEKEND SESSION
October 20–22, 2023
Andy Dohner
Forging FUNdamentals for the Kitchen

Students in this workshop will learn the fundamentals of forging while making functional kitchen utensils. While the focus will be on forging utensils from single pieces of steel, students will be able to explore other possibilities. We’ll cover conventional and unconventional techniques like drawing a taper, isolating mass, spreading, and various connection options. Be prepared to work with fellow students of varying skill levels in a fun, safe environment that will encourage creativity. All levels. 

Studio artist; teaching: Peters Valley (NJ), Touchstone (PA), Campbell Folk School (NC), Center for Metal Arts (PA), California Blacksmith Association, The Steel Yard (RI); exhibitions: Madison Morgan Cultural Center (GA), Metals Museum (TN), Penland Gallery.

@andydohnerstudio

Enrollment for this workshop will begin on May 1. 

Andy Dohner, Kitchen Set, forged steel, 12 x 10 x 2 inches
Andy Dohner, Kitchen Set, forged steel, 12 x 10 x 2 inches
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Fall Weekend Glass

GLASS FALL WEEKEND SESSION
October 20–22, 2023
Linda Sacra
Beads: Out of Round

Complete beginners and experienced flameworkers can explore the endless possibilities of bead making in this workshop: from one-color to multicolor, from round to asymmetric. After brief demonstrations, students will light the torches and make their own unique beads using soft glass and a variety of tools, stringers, and frits. The torch will ignite your creativity, and you’ll see that the best beads aren’t necessarily round. All levels. Flameworking studio.

Studio artist; teaching: Penland, workshops in her home studio; represented in galleries in the southeast including Sandpiper Gallery (SC) and Island Jewelers (NC). 

sacra
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Fall Weekend Drawing and Painting

Drawing and Painting – Fall Weekend Session
October 22-24, 2021
Lara Call Gastinger
Discovering a Landscape Through Drawing

How do you immerse yourself in and capture the beauty of a new landscape? This weekend workshop will delve into making discoveries and seeing plants with new eyes by drawing with a pen and using watercolor to enrich the drawings. Students will go home with a treasured accordion nature journal depicting the inspiring plants and landscape of Penland. The skills learned will be adaptable for use in any travel or perpetual journal. All levels. 

Botanical artist and illustrator; two Royal Horticultural Society Botanical Art Show gold medals (London); numerous American Society of Botanical Illustrators (ASBA) exhibitions; illustrations published in Flora of Virginia, Peterson’s Field Guide to Mushrooms, ASBA’s Botanical Art Techniques Handbook.

laracallgastinger.com | @laragastinger

 

This workshop begins at 5:00 p.m. on Friday and workshop activities will end at 5:00 p.m. on Sunday; students are welcome to stay through Monday morning. Monday breakfast will be the last meal provided; please plan to depart campus by 10:00 a.m.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Lara Gastinger, Fal Perpetual Journal, pen and watercolor on paper, 9 x 11 inches
Lara Gastinger, Fal Perpetual Journal, pen and watercolor on paper, 9 x 11 inches
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Fall Weekend Clay and Specials

CLAY/SPECIAL WEEKEND SESSION
October 21 – 23, 2022
Troy Bungart
Making Your Mark: A Brushmaking Intensive

This workshop is a hands-on opportunity to make a variety of basic and compound brushes. We’ll explore the mark-making potential of different hairs, furs, and fibers—both natural and synthetic. We’ll make handles and ferrules from wood and bamboo and visit a nearby bamboo grove to learn how to harvest this material. Slide presentations and discussions will round out the workshop. Students can expect to make 20-60 brushes. All levels. Lower clay studio.

Studio artist, woodworker, brush maker; teaching: Touchstone (PA), Morean Arts Center (FL), Lillstreet Art Center (Chicago), Gaya Ceramic Art Center (Bali), Penland; galleries/exhibitions: Schaller Gallery (MI), Pewabic Pottery (MI), Northern Clay Center (MN), Michiana Pottery Tour (IN). 

troybungartstudios.com | @troybungart

Troy Bungart, Compound Brush, bamboo, wood, goat hair, leather, 12 x 3 inches
Troy Bungart, Compound Brush, bamboo, wood, goat hair, leather, 12 x 3 inches